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Sentimentality and Autobiography in Gottschalk's the Dying Poet Merrimack College Merrimack ScholarWorks Visual & Performing Arts Faculty Publications Visual & Performing Arts Fall 2012 “Mon triste voyage”: Sentimentality and Autobiography in Gottschalk's The Dying Poet Laura Moore Pruett Merrimack College, [email protected] Follow this and additional works at: https://scholarworks.merrimack.edu/vpa_facpub Part of the Music Commons Repository Citation Pruett, L. M. (2012). “Mon triste voyage”: Sentimentality and Autobiography in Gottschalk's The Dying Poet. 19th Century Music, 36(2), 146-158. Available at: https://scholarworks.merrimack.edu/vpa_facpub/1 This Article - Open Access is brought to you for free and open access by the Visual & Performing Arts at Merrimack ScholarWorks. It has been accepted for inclusion in Visual & Performing Arts Faculty Publications by an authorized administrator of Merrimack ScholarWorks. For more information, please contact [email protected]. “Mon triste voyage”: Sentimentality and Autobiography in Gottschalk's The Dying Poet Author(s): Laura Moore Pruett Reviewed work(s): Source: 19th-Century Music, Vol. 36, No. 2, Counterpoints: Nineteenth-Century Music and Literature (Fall 2012), pp. 146-158 Published by: University of California Press Stable URL: http://www.jstor.org/stable/10.1525/ncm.2012.36.2.146 . Accessed: 05/01/2013 01:15 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to 19th- Century Music. http://www.jstor.org This content downloaded on Sat, 5 Jan 2013 01:15:11 AM All use subject to JSTOR Terms and Conditions 19TH CENTURY MUSIC “Mon triste voyage”: Sentimentality and Autobiography in Gottschalk’s The Dying Poet LAURA MOORE PRUETT The terms “sentimentalism” and “sensibility” authors as diverse as Immanuel Kant (1724– play a central role in contemporary scholarly 1804), Friedrich Schiller (1759–1805), Charles discourse on literature and intellectual theory Dickens (1812–70), and, later, D. H. Lawrence in the nineteenth century.1 Often used inter- (1885–1930). Visual and literary artworks ex- changeably, these words identify simultaneous plored the various facets of the sentimental eighteenth-century developments in popular movement. Among its primary characteristics culture and philosophy that were centered in was a preoccupation with death that character- England but far-reaching in their influence. The ized both the European and American sensi- “cult of sentiment”2 was a phenomenon in bilities of the time. Spiritualism, or the belief which emotions and feelings, as opposed to in communication with dead souls, began to reason and logic, were seen as the routes to grow in popularity in the years before the Civil moral and social improvement. This movement War, continuing into the early twentieth cen- and its ideals were manifested in writings by tury.3 And often, the emphasis on feeling was directly connected to the feminine experience, as in Samuel Richardson’s Clarissa (1748), the 1See Michael Bell, Sentimentalism, Ethics, and the Cul- tragic story of a woman’s moral virtue and her ture of Feeling (New York: Palgrave, 2000); Jerome McGann, eventual ruin. The Poetics of Sensibility (Oxford: Oxford University Press, 1998); and Chris Jones, Radical Sensibility: Literature and However, a parallel movement in literature Ideas in the 1790s (London: Routledge, 1993). 2See, for example, Michael Bell, “The Cult of Sentiment and the Culture of Feeling,” in Representations of Emo- tions, ed. Jürgen Schlaeger and Gesa Stedman (Tübingen: 3Bret E. Carroll, Spiritualism in Antebellum America Gunter Narr, 1999), pp. 87–98. (Bloomington: Indiana University Press, 1997). 146 19th-Century Music, vol. 36, no. 2, pp. 146–58 ISSN: 0148-2076, electronic ISSN 1533-8606. © 2012 by the Regents of the University of California. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press’s Rights and Permissions Web site, at http://www.ucpressjournals.com/ reprintInfo.asp. DOI: 10.1525/ncm.2012.36.2.146. This content downloaded on Sat, 5 Jan 2013 01:15:11 AM All use subject to JSTOR Terms and Conditions and the visual arts explored a male archetype of Goethe’s Werther. The young poet wrote his 16 LAURA MOORE the sentimental protagonist. British author Tho- July diary entry about his beloved Charlotte’s PRUETT mas Gray’s Elegy Written in a Country Church- “melody which she plays on the piano with Gottschalk’s yard, first published in 1751, provided inspira- angelic skill, so simple and so spiritual!”5 Louisa Dying Poet tion for a long line of literary and poetic works May Alcott’s Little Women (1868) featured two on the theme of death and mortality. The “Epi- characters who play the piano, one female and taph” that concludes Gray’s ode confirms that one male. The parlor pieces enjoyed by young- the primary subject is a young unknown poet, est sister Beth, who was reticent to play for an over whose grave the narrator is meditating: audience and preferred the shadow of twilight, contrast with the more serious Mozart and Here rests his head upon the lap of Earth Beethoven works, such as the “Pathétique” So- A youth to Fortune and to Fame unknown. nata, played by neighbor boy Laurie, who in the Fair Science frown’d not on his humble birth, eyes of his grandfather “was getting too fond of And Melancholy mark’d him for her own. it.”6 Alcott reinforced gender distinctions in . multiple ways. Beth assumed a modest and No farther seek his merits to disclose, retiring character and played “pretty, easy mu- Or draw his frailties from their dread abode, (There they alike in trembling hope repose) sic,” songs, and hymns that contrasted with The bosom of his Father and his God.4 Laurie’s choice of the presumably more power- ful compositions of Beethoven; also, Laurie’s Perhaps one of the most famous examples fea- grandfather made it clear that while music is turing the dying male protagonist was Johann quite acceptable as a pastime for a woman, it Wilhelm von Goethe’s Die Leiden des jungen should not play too important a role in a man’s Werthers (1774, revised 1787), in which young life.7 Werther, a passionate and sensitive artist, suf- A later literary work successfully connected fers such great emotional turmoil over his be- the disparate elements of the sentimentalist loved Lotte that he is eventually compelled to movement so popular during the long nine- take his own life. Werther therefore can be teenth century. James Joyce’s 1914 short story viewed as a template for the “dying poet,” an “The Dead” features many references to music image that was realized repeatedly throughout over the course of an evening party: waltzes, the long nineteenth century. British poet Tho- quadrilles, and art songs are all performed by mas Chatterton was famously immortalized in the guests of a musical family. After the party, the 1856 painting “The Death of Chatterton” a married couple, retiring to a hotel room for by Henry Wallis, which depicts the seventeen- the snowy night, holds a conversation about year-old writer after his suicide by arsenic. This how the song The Lass of Aughrim triggers the male archetype was marked by several com- wife’s memories of a young love, a boy who mon elements: great creativity, high levels of died after spending a rainy night waiting under sensitivity, physical and emotional fragility, sig- her window. In this way Joyce skillfully con- nificant moments of disappointment, and early nects music and emotion in his story with the (and often self-inflicted) death. Two French po- ems, both titled “Le Poète mourant” and first published in 1823, explicitly sustained the dy- 5“Sie hat eine Melodie, die sie auf dem Klaviere spielet ing poet trope and simultaneously inspired mu- mit der Kraft eines Engels, so simpel und so geistvoll!” Johann Wolfgang von Goethe, Die Leiden des jungen sicians to explore the same in their composi- Werther (Leipzig: Göschen, 1787), p. 87. tions. These poems will be discussed in more 6Louisa May Alcott, Little Women and Good Wives: Be- detail below. ing Stories for Girls (London: Ward, Lock, and Tyler, 1871), p. 71. Musical allusions were often incorporated 7Ibid., p. 73. That the music Beth plays is never specifi- into sentimental literary works, beginning with cally named, unlike the Beethoven sonata Laurie performs, reinforces the disparity. See also Petra Meyer-Frazier, “Mu- sic, Novels, and Women: Nineteenth-Century Prescrip- tions for an Ideal Life,” Women and Music: A Journal of 4Thomas Gray, An Elegy Written in a Country Church- Gender and Culture 10 (2006), 45–59, for a discussion of yard (London: Dodsley, 1751), p. 11, lines 117–20, 125–28. music and gender in American sentimental literature. 147 This content downloaded on Sat, 5 Jan 2013 01:15:11 AM All use subject to JSTOR Terms and Conditions 19TH sentimentalization of death, specifically that assumed critical significance during the 1860s, CENTURY MUSIC of a young man. when so many were lost during the Civil War. The sensibility movement in literature was In her 2008 publication This Republic of Suf- paralleled by the composition of similarly sen- fering, Drew Gilpin Faust considers the dra- timental music, both in Europe and in America. matic shifts in the American understanding of The pieces Beth and her real-life counterparts death that took place with the advent of the played would have included parlor songs writ- war.
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